The show is about the life of the famous and amazing early choreographer and contemporary dancer, Heidi Dzinkowska. We see her first angst laden film (made in 1902 no less) where her “boat of skin” swims in blood. Such pain! This we, the audience, then begin to feel for real as Aggiss performs Heidi’s dance Joints, in which, accompanied by loud clicking sounds, she proceeds to “pull” all her joints!

As you may have guessed, this is not a serious performance. It is one with a message that sends up pretentiousness, as the fictional Heidi produces all the nonsense that nobody really, really wants to see or hear.

Her diary notes how she was told that the way ribbons on pointe shoes are tied reveals sexual meaning – which, of course, everyone knows. Another film clip (of 1911) shows Aikiko (guessed spelling) on one leg, moving lovely arms to finish with hands over an ugly scrunched up face – an early denunciation of the cult of beauty? After that Aggiss puts on the black frock and cap of the promotional photo to perform Heidi’s dance, choreographed by Nijinska, about Kikimora (the malicious Russian creature), reminding us of L’Apres Midi d’un Faune. 

Aggiss gives a lesson in technique based on the seven basic positions introduced by Heidi, performing a short angular dance with them, tucking up her dress when modesty might suggest.

Then there is another film Lei Lui e L’Altro (of 1920) demonstrating Heidi’s dance trainer. This is a stand for clothes on wheels, joined to the boots of the dancer, probably by lengths of wood, so that the dancer, sitting on a chair, can manoeuvre the two stands (with jumpers on them), as if they were people. Who could think this ridiculous? 

More drama for Heidi arises when she is shot in the back by her lover – but, living for art, she makes use of this event with a very meaningful dance film I Forgive You Anthony (of 1921).

Finally a lesson from Heidi – her five dance commandments: